New Movies Reviews,Box Office And News

Saturday, 22 October 2016

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Ethel And Ernest Movie News And Reviews: Jim Broadbent and Brenda Blethyn lend their voices for the title characters of artist Raymond Briggs' animated biographical tribute to his own parents.
It’s commonly thought that artists seldom make stories about happy, stable marriages because where’s the drama in that? Ethel & Ernest, a deeply affecting feature-length animated film, disproves that assumption by unfurling an emotionally rich story about the lifelong marital love affair between two kindly, modest people living in an inconspicuous corner of suburban England. Adapted from the illustrated book author-artist Raymond Briggs (The Snowman) wrote about his own parents, this quiet, dignified work shouldn’t have too much trouble finding a niche audience domestically given Briggs’ near-saintly reputation in the U.K., especially among older viewers. Families willing to think outside the usual cartoon boxes may also be drawn in.

Beginning in 1928, when the title couple first meet, and then running through until (spoiler alert) their deaths in the early 1970s, the story covers over 40 years of marriage, the birth of their son and future biographer Raymond, and many world- and nation-shaping events, seen always through the eyes of Ethel and Ernest. In fact, one of the best things about the film is the way it effortlessly incorporates history and shows how it shapes the lives of “ordinary” people, from the rise of Hitler through to the Blitz during WWII to the founding of national healthcare and the welfare state after the war.

That strategy or refracting massive changes through the prism of one little household will seem particularly familiar to those raised with the 1982 graphic novel and 1986 animated film of Briggs’ When the Wind Blows, his indelible parable about how a pair of elderly, average citizens cope with the onset of nuclear winter. “I expect there may be a temporary containment of supplies,” says elderly Jim Blogg towards the end of that story, as he and his wife Hilda lie dying on their sofas, expecting help to arrive at any moment from the emergency services. It’s impossible not to hear an echo of the Bloggs in the portrait here of Ethel and Ernest Briggs (voiced by Brenda Blethyn and Jim Broadbent, respectively), as they express a similar faith in, say, Mr. Churchill to win the war or that nice Mr. Atlee for his wisdom in nationalizing coal production. Indeed, Raymond Briggs has said that he modelled Hilda and Jim on Ethel and Ernest.

Both from working-class backgrounds — Ethel came from a brood of 11 children, three of whom died either at birth or in early childhood — the couple catch each other’s eyes when Ernest cycles past the house where she’s working as a ladies’ maid for two stuffy spinsters. Confident, perhaps even a little bit cocky in the nicest possible way, the young man comes knocking on the door with flowers to ask Ethel out to “the pictures” with him, even though she’s five years older than him and already over 30.

Before long they’re married, and rhapsodizing over the house they’re just about to buy for the enormous sum of £850, a two-bedroom terraced home in South London with its own back garden, four windows in the bedroom and, best of all, indoor plumbing. He takes a job as a milkman and she stays home to raise their only child, Raymond (voiced by Luke Treadaway as an adult). After a difficult birth, the doctor advises them against ever having a second child, lest Ethel dies in labor.

And so, the years pass, with a normal allotment of joys, disappointments and minor domestic arguments. The war is hard on them, especially after the house is damaged by bombing nearby and Ernest sees appalling horrors through his work as a volunteer firemen, keeping the city from burning down. But they keep calm and carry on, managing even to survive Raymond’s bohemian phase in the 1960s and his refusal to comb his hair. The couple’s genuine love for one another endures, and when dementia steals away Ethel’s memories and health, viewers will find themselves mourning along with her family. One way to explain what the film is like to non-British viewers who aren’t familiar with Briggs’ oeuvre is to say it’s like that five minutes in Pixar’s Up that summarizes the entirety of Carl and Ellie’s marriage, but spun out over feature-length, but with hardly any loss of emotional heft. Sure, it’s a tiny bit sentimental sometimes, but only just that little bit, and given how soppy the British can be about subjects, this is remarkably restrained.

Animation director Peter Dodd and art director Robin Shaw ensure the pencilly, colorful furriness of Briggs’ original illustrations are honored and brought to life, especially his very expressive characters with their blobby noses and tufty thatches of hair. The computer animation deployed to render planes flying and cars in motion jars a little at first with the lo-tech, traditional look of animation elsewhere, but eventually it starts to look all of a piece.

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2016 New Movies Aroused By Gymnopedies Reviews,Box Office And News:
Indie favorite Isao Yukisada marries sex with sadness in his shout-out to Japan's 1970s roman porno era, one of five films newly commissioned by Nikkatsu.

A broken-down, self-indulgent filmmaker watches his life fall to pieces in seven days in Isao Yukisada’s softcore porn experiment, Aroused by Gymnopedies. Still best known for the hyper-sentimental romance Crying Out Love, In the Center of the World, Yukisada injects his signature emotionalism into the dirty proceedings to entertaining, cheeky and oddly moving effect. A spin on the uniquely Japanese cultural oddity that is “roman porno” (romantic pornography), the film will draw plenty of festival attention, and though it has been picked up by satellite broadcaster SKY PerfectTV in Japan (along with four others), Gymnopedies may be too high-brow for the likes of the newly respectable Cinemax and its international counterparts. Download services, however, could be another option for distribution.

In celebration of the 45th anniversary of Nikkatsu’s roman porno — the more highbrow pinku eiga movement that saved the studio from bankruptcy in the early 1970s — the venerable producer enlisted five of Japan’s most prominent indie filmmakers to re-envision the sub-genre for contemporary audiences in a series of short features. Hideo Nakata (Ring), Kazuya Shiraishi (The Devil’s Path), Akihiko Shiota (Dororo), Sion Sono (Tokyo Tribe) and Yukisada were tasked with producing their films in the roman porno style: a limited budget, a shooting schedule roughly a week long and lots of sex and skin.

In Aroused by Gymnopedies, a failed art filmmaker, Shinji (Itsuji Itao, Air Doll), compelled to make a sleazy skin flick for some quick cash, bounces around Tokyo over the course of one aimless week after his petulant leading lady, Anri, quits. Without her the film is canceled, leaving the creaky, scruffy Shinji time to bed one gorgeous, wildly younger woman after another — including his married wardrobe assistant, Yuka, a rich student, and, ironically, Anri. With his life spiraling out of control, he reaches a low point when, desperate for money, he gets his ex-wife Rinko to prostitute herself to help him out. The reason? His current wife, Yukiko, is in a coma, dying, in a pricey hospital.

Yukisada’s sensitive touch at first seems at odds with sleaze, but given some time it becomes clear it’s actually a good fit with the traditionally thoughtful roman porno. While Shinji initially comes across as a baffling chick magnet that would seem at home in a Woody Allen film, it soon becomes clear he’s desperately unhappy, and manages to destroy everything in his path. The women in his life want to help, but they wind up poorer (he steals Yuka’s piggy bank), humiliated (Rinko) or forgotten. He’s pathetic, and Yukisada (who co-wrote with Anne Horizumi) knows it. Aside from the alleyway scramble for Yuka’s coins, a highlight that crystallizes Shinji’s sad state is an embarrassing retrospective of his art films, attended by 12 people — and where a hilarious fight breaks out (what film writer wouldn’t kill for something as exciting as fisticuffs at a Q&A?)

The title refers to the 19th century piano piece by Erik Satie that Yukiko once played, and which has a central place in the film’s inevitable conclusion. Itao is perfect as the rumpled Shinji, acting out rather than engaging with the people around him and refusing to acknowledge the damage he inflicts. Despite a willfully low budget, the technical specs are ace, with Satie’s piano suite supplying a suitably wistful score. And yes, there’s lots and lots of skin: four nude and/or sex scenes per hour.